Oriental Art Essay

Oriental Art Essay
Oriental Art Oriental art is very distinct from other parts of the world. In their sculptures they still
used such materials as clay, wood, and bronzes. However their art work promoted such things as
goodness in nature, serenity, graceful balance, spiritual perfection, and a mystical harmony within
themselves. There work avoided confusion, conflict and violent emotions at all costs. New or
unprecedented experiments in their art work was never welcomed, and the expression of nobility
and inner worth where demanded. Ultimately oriental art was said to be "a way of being", but to
understand this you must look at the words of the great Chinese philosopher Confucius who said
"Raise yourself to the beautiful." However not all Oriental ... Show more content on Helpwriting.net
...
The Shang people came into history half way through the second millennium B.C., these people also
lived in pounded earth settlements, and made funeral vessels. These people established the li which
was the basic metallic shape used in their bronzes. Not only was the li used, but also other shapes
have been discovered. In recent excavations, thousands of different vessels have been found,
however it is possible to distinguish about forty basic shapes of the vessels. Each vessel served a
different purpose in sacrifice or funeral ceremonies. Some where used for wine and water, some for
storing foods, while others where used for cooking meats. The Shang dynasty have left some
sculptures as original and different as there bronzes. However none of the large statue survived
excavations. The importance of the excavations cannot be overemphasized. Who would have
imagined an ancient culture so rich that they actually created stone sculptures, wheel made pottery,
carved jade, and bronzes, which have never been surpassed.
Too often when people speak of "Oriental art" they think that both China and Japan developed in the
same way and the same time. This statement however is false, and the Japanese art did not start till
several years after Chinese art did. The first forms of Japanese art can be looked at through the
Jomon people, who where nomadic hunters and fishers. A number of human figurines and fertility
gods have been found, also
... Get more on HelpWriting.net ...

Madonna And Child Analysis
Portraits of the Madonna and Child depicting Mary holding the infant Christ provide a recurrent
image in art throughout the ages. In prevalent portrayals over the span of centuries, artists reflect a
wide diversity in their representations of the iconic duo. In particular, two works found in the
National Gallery of Ireland in the early Italian Renaissance gallery, The Virgin and Child, Saint John
the Baptist and Prophets by an unknown artist (1325–1450) and The Virgin and Child by Paolo
Uccello (1435–1440), highlight the transition between Byzantine and early Renaissance paintings of
the Madonna and Child, particularly in relation to subject matter, composition, material, style and
meaning. Although each of these paintings of the Madonna and Child depicts the same Christian
iconography of Mary and Jesus, their differences in composition and style influence their meaning,
with each painting reflecting the individual artist who painted it and the different time period during
which it was created.
The subject matter of both of these National Gallery of Ireland Madonna and Child works is
unmistakably Mary, who was assumed into heaven upon her death, and her son, Jesus Christ, born
free of original sin through the Immaculate Conception. A central icon of Christianity, Mary
traditionally exemplifies love, passion and devotion. As Mary represents universal motherhood, the
subject of the Madonna appeals to all people. Although both Madonna and Child paintings depict
Mary holding

Where Are The Great Women Artists?
Where Are The Great Women Artists? Take sixty seconds to write down all the male artists you
know of. Now take sixty seconds to write down all the female artists you know of. The chances are
that your first list produced far more artists than your second. Perhaps you have some token women
artists such as Georgia O'Keeffe and/or Frida Kahlo in your list. Why do these lists generate more
male names than female? Are females incapable of the becoming great artists? Do they have a
different kind of greatness? Or, as the feminist art historian Linda Nochlin suggests in her ground–
breaking article Why Have There Been No Great Women Artists?, there are no great women artists;
no female version of Picasso or Van Gogh, because they simply haven't been allowed to be great.
Throughout history women have been seen as the exception to the rule that artists are men. While
conditions have improved, women are still excluded from galleries, museums, textbooks, and
overall are not granted the same privileges as male artists. Many people insist that today women are
granted equality in the art world, yet textbooks solely on 'women artists' exist; instead of integrating
women into the general history of art there is a whole separate section for them. Instead of simply
calling everyone artists terms such as 'woman–artist' exist. World renowned museums such as the
Museum of Modern Art and the Metropolitan Museum of Art insist that they have 'integrated
women into their collection', yet the

The Los Angeles County Museum Of Art
For my enrichment report, I decided to take a trip to the Los Angeles County Museum. However, I
was trapped with the challenging choice of choosing only one museum for my cultural visit. Since,
there are so many prodigious and amazing museums to choose from to visit in the county. But, I
have heard many great feedbacks about the Los Angeles County Museum of Art from fellow classes
mates, friends and family. So, I finally, had my destination set to and planned a visit to the Los
Angeles County Museum of Art. Upon my visit my attention was already fixated on the unique
building layout and the many arts exhibited located all around the outside of the museum building.
There were several building that housed the many different art exhibits. Such as the first building I
walked into, after purchasing a ticket. This building was called the "Ahmanson" building, which
housed voluminous and diverse art of the European, Islamic, South and Southeast Asian Art, Art of
the Ancient World, Art of the Pacific and Others. There were also many special exhibitions that was
hosted at the time of my visit, such as the modern art gallery and Rifkin Gallery for German
Expressionism. One of the sculpture centered in the middle of the building of the "Ahmanson"
building called "Smoke" really caught my attention. As it quite an enigmatic and stunning metal
sculpture that mesmerizes illusions based on your interpretation and perspective of the piece.
Granted, there were defiantly a lot of sensational

Elisabetta Sirani And Anguissola
Since the beginning of time the utmost of woman was known to be found in the character of a wife,
a mother, a sister and that of a daughter. If a woman found herself with a brilliant mind and a talent
it was thought to best keep it a secret. Despite the physical and mental constraints on women, they
have been able to negotiate the expectation of gender and the professional practice of art by
achieving artistic excellence, virtue, and a great share in social responsibility.
The following essay will argue this in relation to two self portraits by Elisabetta Sirani and
Sofonisba Anguissola, who were both born in Italy in the 15th and 16th century. The aspect of both
self portraits that stands out, is the way in which the artists have depicted ... Show more content on
Helpwriting.net ...
At the age of 14 both sofonisba and her younger sister Elena were sent out by their father, who
strongly believed in properly educating his daughters, to go and study painting under Bernardino
Campi, a respected local painter. Anguissola also went on to study under Bernardino Gatti, Through
this period she began receiving encouragement from Michelangelo and many other fellow artist.
Sofonisba went on to become the first known established female artist both nationally and
internationally.
In 'Self Portrait At Easel' Anguissola has choosen to show the portrait she is painting within the
frame, creating a layered active effect of a painting within a painting. From her actions in this piece
the viewer derives that the setting is a space where the artist works. Everything but herself and the
painting is a negative space, further accentuating her process of painting.
It is interesting the 'scene' Anguissola has choosen to depict in her process of painting. It is a very
feminine depiction of 'Virgin and Christ Child' bringing to mind that a woman is a creator in her
birthright and her physical capacity to hold a life inside her body. The artist also choose to show her
palette with colours to suggest her knowledge and ability to discern the use of colours in her skill as
a

Madonna Of The Goldfinch Essay
1. Composition is the organization, or arrangement, of forms in a work of art. When art historians
analyze composition, they focus on the overall arrangement and organizing design or structure of a
work of art. Madonna of the Goldfinch is a painting by Raphael. The three figures, the Madonna and
her two boys, are arranged in a triangular shape at the center of the painting. The artist emphasized
this by opening the clouds to show a patch of blue in the middle of the sky, and by situating delicate
trees around the figural group. This is a bilaterally symmetrical composition, because the Madonna
is at the center of the painting while the two boys are divided between the two sides of the triangular
shape approximately equidistant from the painting's center. On either side of an implied vertical line
at the center of the painting, known as an axis, there are equivalent forms on the left and right which
are balanced and complimented in a ... Show more content on Helpwriting.net ...
The aspect of the case study of Rogier van der Weyden's Philadelphia Crucifixion that was
especially interesting to me was the cultural context. I found this to be the most interesting because,
to me, the cultural context is what gives immense meaning to a work of art. By knowing an artist's
intended audience, an artist's goals, the context of the time and place a work was created, and the
background and experiences of the artist, works of art are given much deeper meaning. This painting
is not simply a painting depicting the pain those closest to Jesus suffered as a result of his
crucifixion; rather, this painting is associated with extremely important moments in the life of the
artist, such as his religious pilgrimage to Rome in 1450 and the initiation of his eldest son as a
Carthusian monk at around the same time. The artist, whether this panel painting had been created
as a donation to the chapel of St. Catherine at Herrines or not, shows how the artist truly embraced
his personal experiences and used art to express his

Comparing Baroque Styles Of Art And Deliverry Of The Cross
High Renaissance and Baroque Styles The Renaissance and Baroque are two difference styles of art,
but they play an important role in the history of art. Based on the five concepts in Wolfflin's
"Principles of Art History" to compare and contrast two artworks: "Delivery of the Keys" (about
1481–1482) by Pietro Perugino, which is created with high Renaissance style, and "Raising of the
Cross" (about 1610–1611) by Peter Paul Rubens is created with Baroque style.
Although "Delivery of the keys" and "Raising of the Cross" are more than 100–year apart, they both
succeed in holding the values of art and religion. Besides, "Delivery of the Keys" by Perugino is
landscape of oil painting, which is describe a scene of the Holly Book when Jesus delivery ... Show
more content on Helpwriting.net ...
For example, it is easy to recognize Judas, is the fifth person on the left of Jesus, with his dark and
mean face, and his hand on his pocket. Judas is one of twelve Jesus's students, and he is the one sell
Jesus for 30 golden coins. All of characters and objects seem very clarified and details. Meanwhile,
"Raising of the Cross" uses the relative clarity concept, which the characters and the objects in the
painting are darker and more loosely focused, so it makes the painting seem unintentional. The
brightest and most clarity place in this painting is Jesus– main character, and every thing else is fade
and darker in the

Feminist Theory Of Griselda Pollock
"Foucault's work gave the terms discursive practices and discursive formation to the analysis of
particular institutions and their ways of establishing orders of truth, or what is accepted as 'reality' in
a given society" (Goldberg). Discursive formations display hierarchical arrangement and are
understood as reinforcing certain already established identities or subjectivities– in matters of
sexuality, status, or class for example. These dominant discourses are understood as in turn
reinforced by existing systems of law, education and the media". Foucault's work is to show that
members of society such as intellectuals, "are implicated in discourse and in the discursive regimes
or systems of power and regulation which give them their livelihoods ... Show more content on
Helpwriting.net ...
(Millhouse, 2011) In the 1980's Pollock's Feminism "critiqued the essential myths of individualism,
the artist, and the social constructions of femininity and masculinity that define bourgeois culture".
While the 70's feminism movement aim was to stand next to the existing masculine dominated
culture. "Feminism's encounter with the canon has been complexed and many–leveled: political
,ideology,mythological,methodological and psycho–symbolic" (Pollock, 1999). The 1970's
movement was followed by the immediate task which was "the need to rectify the gaps in historical
knowledge created by the consistent omission of women of all cultures from the history of art"
(Pollock, 1999). The only art that was put on display was significantly male dominated work, if you
wanted to see work created by women, you would have to view them "in a basement or storeroom of
a national gallery" (Pollock, 1999). Female artists are only known in their own category of female
artists while male artists don't require a separate category . Art that is created by females have been
historically dismissed from the art historical canon as craft, as opposed to fine art. The evident of

The Relationship Between Persian Painting And Chinese...
1. Introduction
Kamāl al–Dīn Behzād (c.1450–c.1535), who served royal princes of Timurid (1370–1507) and
Safavid (1501–1736) dynasties, is one of the famous painters in Islamic world. Historical records
and paintings related to him are so numerous. From the beginning of 20th century, art historians
challenged again and again to define the style of his paintings and to attribute the non–signed works
to him. However, the characteristics thought as Bihzād style are vague, so the re–examination of his
style is needed. In this essay, I would like to re–examine what is called "Bihzād style", by
comparing the Persian painting with Chinese painting.
2. The Relationship between Persian Painting and Chinese Painting
Before reviewing the study history ... Show more content on Helpwriting.net ...
However, this is not true, because as mentioned above, the taste for Chinese landscape motifs was
already seen in the 13th century. It would be more appropriate to see the works of Bihzād's figural
paintings rather than landscape paintings to define the Bihzād style. According to the one of the
contemporary historical records, Bābor–nāma, Bābor wrote Bihzād was good at portraits of beard
man. The statement by Bābor means people who lived in the same period thought Bihzād's strong
point was drawing figures. Figure 1 is the portrait of Dervish, which is attributed to Bihzād. The
brush work is similar to the techniques of Chinese nail head–rat tail (釘頭鼠尾in Chinese) (see fig
2). Compared to classical style of Persian painting (see fig 3), the depiction of hairs, mustaches and
beard are so fine. The shadowing and the realistic depiction of ears, nose and mouth are also rarely
seen in the classical Persian painting. The Chinese derived features of this painting (fig 1) mean, in
this period, Persian painters imitated the works of Chinese paintings. And by doing so, they
gradually introduced some traces of Chinese painting techniques to Persian painting. The influence
of Chinese painting had great impact before the Timurid dynasties, but according Sugimura, Persian
painters started to borrowing the physiognomy for the first time in this period. From his indication
and the comparison between Bihzād practice drawing (fig 1) and Chinese painting (fig 2), Bihzād
style could be defined by the depiction of figures rather than landscape painting

Analysis Of A Subtlety: The Marvelous Sugar Baby By Kara...
In 2014, Kara Walker gained a new level of distinction with her installation A Subtlety: Or The
Marvelous Sugar Baby. In characteristic Walker mode, the full title continues: an Homage to the
unpaid and overworked artisans who have refined our sweet tastes from the cane fields to the
kitchens of the new world on the occasion of the demolition of the Domino sugar refining plant. It is
this work, and the critical reactions that it provoked, that I look to interrogate in this paper.
Specifically, I am interested in the ways in which a certain discourse, at the intersection of art
criticism and the history of sugar in the Americas, makes apparent differing "feminisms." Walker's A
Subtlety provides ample space to do so.
Art critics and historians ... Show more content on Helpwriting.net ...
They sexualized the sugar baby, "recreating," as Nicholas Powers described it, "the very racism this
art is supposed to critique." As much as those responses revealed, it is clear that response in general
was also a central part of the work, as Walker's follow–up project, created from secret footage of the
gallery, indicates. The installation's afterlife–via social media, in online essays, and in Walker's post
exhibit video production–reframes the dynamic of violent spectatorship to turn the gaze on the
viewers themselves. Thus, the figures in the space we must engage with are not only the Sugar Baby
and the molasses boys, but the audience members, who experienced a wide variety of responses. I
particularly remember loads of seemingly awkward white family photos being taken and hoardes of
visitors who pretended to fondle the Sugar Baby's breasts. As all of Walker's work does, A Subtlety
pressures the distinction/perception between represented and experienced violence. It also raises
questions about the "right" and "wrong" way to look at art, how participatory patrons "should" and
were able to engage with representations of suffering. In this vein, Carol Diehl's aggressive
commentary on the exhibit illuminates a common emotional feminist art critic's response to this
specific exhibit of Walker's

Apollo Belvedere: An Archetypal Examples Of Hellenistic Art
Introduction
The Laocoön and his sons (fig. 1) is an archetypal example of Hellenistic art. "An overwhelming
concern of Hellenistic artists was truth to reality, and they tended to depict dramatic, often violent
action." Hellenistic sculpture in particular was of theatrical manner which emphasised emotional
intensity and striking scenes of crisis. Prior to this artwork for centuries the Apollo Belvedere (fig.
2) personified principles of aesthetic perfection of classical art for Europeans and westernized parts
of the world. Apollo is in a calm placid state; he is not engaged in any violent actions or emotions,
but rather is calmly posing. The statue exhibits the extremely realistic folds and falling of his cloak,
as well as the precision ... Show more content on Helpwriting.net ...
'Michelangelo referred to it as a singular miracle of art.' Similar poignant qualities reappear in
Michelangelo's own works such as the Last Judgment in which he was described as putting 'art and
beauty before religion'8 in his masterpiece depicting the naturalism of the human body and
expression whilst in purgatory. Michelangelo's development and 'concentration on the male body is
a means of expressing the most profound emotional and spiritual states of humankind in a legitimate
commonplace in Renaissance art history' which developed as an influence of the Laocoön.
Michelangelo had been present when the Laocoön and his sons (fig. 1) was discovered by Giuliano
da Sangallo a peasant digging in a vineyard on the Esquiline on 14 January 1506, almost
immediately after his return from Carrara. "The group fascinated him, not only as one of the most
famous antique statues described by Pliny the Elder and now brought to light, but as an example in
antiquity of the expression of violent emotion and movement, and also of a profound spiritual
struggle, since Laocoön and his sons (fig. 1) are being killed by Apollo for having disobeyed him –
they are the victims of divine wrath. It exercised a continuous influence on him, as one of the great
works of antiquity which could be both an inspiration and an object of

Moxey And Cosgrove Analysis
Within his book Visual Time, which offers an unorthodox approach to the study of art history,
Moxey writes: "The history of art faces the disconcerting possibility that the time it imagines,
history's very architecture, is neither uniform nor linear but rather multivalent and discontinuous
(Moxey 1)". Indeed, though time within the practice of art history may in actuality be anachronic, or
without a distinct order, it is not regarded as so at Wellesley's Davis Museum; here, the architecture
of time is as linear as the physical architecture of the museum's modern exterior. The physical and
representational mapping of the Davis' use of chronological time is especially present by floor
layout. The permanent collections are on the second, fourth, and fifth levels. Segmented by
geography, which both Moxey and Cosgrove discuss, the second floor's collection of art and
artifacts dates as far back as 2000 BCE and encompasses six of the world's seven continents. It is
important to note that the stairs are set at the heart of the museum, allowing museum goers to
approach a floor's collection from four different starting points. Though probably not intentional,
this somewhat equalizes the collections featured on the second floor. Each geographic location are
quartered off into makeshift galleries with the two largest being the African and the ... Show more
content on Helpwriting.net ...
The former illustrates Moxey's ideas regarding translation, conversation across eras. The later also
does this, as some of the medieval pillars are the victim of spolia, and are in fact roman pillars with
medieval capitals. Also, putting medieval work, the quintessential western era, in a wing gallery
devalues

Murillo's Representations of Seville
Bartolomé Esteban Murillo was a Spanish Baroque painter born in Seville in late December of 1617.
While many of his contemporaries would leave their native lands to seek commissions elsewhere,
Murillo stayed true to his roots and remained in Seville for most of his life, with the exception of
two short stays in Madrid: one from 1642–1645 and the other for several months in 1658. While
these excursions –particularly the first– played a noteworthy role in the development of his personal
style, Murillo ultimately chose to found his Academy of Painting in his hometown. Murillo was a
prolific and talented painter who acquired numerous followers as well as international recognition
during his artistic career. He is best known for his religious ... Show more content on
Helpwriting.net ...
At the age of fifteen, he began training in the studio of Juan del Castillo, a Venetian–influenced
Sevillian painter who went on to only be recognized in history as the teacher of Murillo. In 1642,
Murillo took the money that he had earned by making crude tempera paintings called sargas and
moved to Madrid, where he studied the works of Titian, Rubens, and Van Dyck. He even had the
opportunity to study with Velázquez for a short time, though Murillo never ended up doing royal
court art. He received his first commission in 1645 from the Convent of San Francisco, and he
ascended to become one of the predominant painters of his city over the course of the 1650s. This
increased renown was fueled by a commission to create paintings for the Seville Cathedral. In 1648,
Murillo married Doña Beatriz Cabrera and went on to have three children with her. His works
became high in demand and he received many important commissions, both from churches and from
individual collectors and merchants, particularly those who had come to Spain from the
Netherlands. He died in 1682 while in the process of making a cycle of paintings for a church in
Cadiz. During the mid–17th century, the period of Murillo's rise to prominence, Seville was a
suffering city. The impoverished and hungry citizens were overtaxed in order to fund the foreign
wars. The inland city became less significant as a trading

Analysis Of Lucca Madonna
Lucca Madonna, Jan Van Eyck Description Analysis Interpretation Judgment Art Criticism The
Lucca Madonna portrays Virgin Mary sitting on a throne feeding baby Jesus. Van Eyck's use of
color truly draws the viewer to the painting. As soon as one sees the painting they as on looks upon
the painting they are guided towards Mary and Jesus' bright skin then is soon drawn to the beautiful
scarlet dress Mary is wearing. There seems to be little negative space in the paintings. The throne of
which Mary sits on does not belong in the room. The only other items located in the room is the fruit
on the window seal and the trinkets on the shelf. Van Eyck's use of color emphasizes the differences
between the brightness of Mary's dress and the figures ... Show more content on Helpwriting.net ...
Jan Van Eyck artistic style is very identifiable. Eyck's use of iconography, the use of symbolism in a
work, occurred in a majority of his paintings. His creation of oil paint allowed him to create a
detailed painting with varying textures. The use of natural lighting and vibrant colors, known as
impasto, is very characteristic of Van Eyck painting. Not much is known of Van Eyck's socio–
economic background however based on the time period one can infer what influenced his artwork.
The Lucca Madonna was painted during the Northern Renaissance.The northern Renaissance is an
artistic period that occurred in Northern European countries such as the Netherlands, Germany,
Holland, England, and France. Artwork during the period was influenced by gothic traditions,
exploration of the new world, individualism, realism, the formation of nation–states and religion.
The Northern Renaissance painting often included iconography, intense detail and vibrant colors.
Although Catholicism was practiced in northern Europe, the end of feudalism diminished the
church's power and many secular institutions began to arise. Although Jan Van Eyck was one of the
most influential artists during his time period, his work, Lucca Madonna is fairly unknown. Whilst
researching Jan Van Eyck the work rarely appeared unless one research specifically the name.
Description Analysis Interpretation Judgment Art

Analysis Of Thomas F. Mathews ' The Mistake Of The Emperor...
The paper serves as a critical analysis of Thomas F. Mathews' "The Mistake of the Emperor
Mystique" chapter in his book The Clash of Gods: A Reinterpretation of Early Christian Art. The
scope of the analysis extends only to the chapter, the works included in the chapter and some
supplemental sources by other art historians. It examines Mathews' central argument and auxiliary
claims, paying attention to his use of sources. Additionally it probes the validity of his assertions,
drawing comparisons to other works or historians.
~~~~
The book The Clash of Gods: A Reinterpretation of Early Christian Art reevaluates fundamental
pieces of Late Antiquity art, facing off with what author Thomas F. Mathews dubs the "Emperor
Mystique," an inclination to link images of Christ in this period to imperial iconography. In the first
chapter, author Thomas Mathews makes a lofty claim: Late Antiquity art blanketed under the
Emperor Mystique must be reassessed since art historians have tawdrily abused the theory to
oversimplify Jesus' iconographic identity. The author structures his chapter one argument into three
points. First, he criticizes the idea of an unbroken art narrative consisting of a gradual flow from
pagan art to Christian art, resulting in the Emperor Mystique mix of imagery as a key transition
point. Then, he considers the Emperor Mystique's prevalence in Late Antiquity. Finally, he moves on
to the art historians chiefly responsible for the theory–Ernst Kantorowicz, Andreas

Essay Iconography and Iconology of an Advertisement
Iconography and Iconology of an Advertisement
Looking at the art of the past, we see many images depicting nude women. From Botticelli's The
Birth of Venus to Ingres's Grande Odelisque, many artists like the idea of painting a woman in the
nude in an interesting pose. Even modern images in contemporary magazines depict nude images.
Yves Saint Laurent's advertisement of their fragrance Opium depicts a nude woman covering her
breast. Her pose is a symbol of the iconography, while beauty serves as the iconology. The
understanding of the iconography and iconology of this image by contemporary society comes from
the fact that the nude image was depicted in the great art of the past; however, the fact that society
has become contemporary ... Show more content on Helpwriting.net ...
For example, The Birth of Venus has arranged her hands and hair in such a way to hide her
sexuality. The pose of the woman in the advertisement also shows the same thing. She is posed
seductively to show off her body, yet she is covering one breast with her hand. When we think of
nude figures, we think of art pieces in the past that depicted nude women in a certain pose.
Therefore, the pose of the woman in the advertisement owes much to the pose of nude women in art
pieces of the past. Because nudity was depicted in great art of the past, we are not surprised when
we see a nude image in a magazine. Instead, we view nudity as a symbol of beauty.
The real purpose of a nude image is to show the woman's beauty, not her sexuality; this is the
iconology of the image. This image of the woman in a seductive pose in the advertisement is meant
to draw the reader's attention to the product. The advertisers want to show how "beautiful " this new
fragrance is by having a beautiful nude woman pose for their ad. The art of the past that depicted
nude women were meant to show their beauty also. For example, the statue of Aphrodite by
Praxiteles depicted the goddess in a seductive pose, but the statue was interpreted as a symbol of
enchanting beauty. Beauty is shown through sexuality and seductiveness, as evidenced by the nude
women in the art pieces. This is also shown in the advertisement for the fragrance.
Although the image in the

The Trouble With Art Analysis
In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is
imperative to be mindful that "art" has been utilized as a promotional device, ceremonial item,
aesthetically purposed article or perhaps none of these or all. It is because of this vague term that
Carolyn Dean, in her text, "The Trouble with (The Term) Art", makes a case for the consequences of
applying the term "art" in societies that lacked such a notion which also accounts for the Western–
centric lens the field intrinsically utilizes when viewing non–Western art. The claim is deftly
supported by the utilization of expert accounts in the subject, alternative perspectives for what is
considered the current norm, and self–examining questions, ... Show more content on
Helpwriting.net ...
This illustrates how now, people were placing an importance on what was previously discarded just
because the Western thought just became open to accommodate such works in their idea of art. From
this stance, art is arbitrary and suits the whims of Western art historians. The object is still the same,
but now the Western world deems it to be of value, which exemplifies Dean's argument that we are
looking at pieces through our eyes and not the way it was meant to be seen. Just the idea of labeling
an item of art may have interior motive–If this piece is capable of preservation, can my name be
remembered for its discovery? Is there monetary gain stemming from this

Who Remedios Varo Is By Inga Muscio
Throughout the art history, women have been involved in making art, whether as creators and
innovators of new forms of artistic expression, patrons, collectors, sources of inspiration, or
significant contributors as art historians and critics. Women have been and continue to be integral to
the institution of art, but despite being engaged with the art world in every way, many women artists
have found opposition in the traditional narrative of art history. They have faced challenges due to
gender biases, from finding difficulty in training to selling their work and gaining recognition. In
"Who Remedios Varo Is", Inga Muscio argued this issue by suggesting that Remedios Varo, one of
the top 19th century surrealist painters in the art history, did not ... Show more content on
Helpwriting.net ...
But nowadays, women has become more powerful and even gradually take men's place in the art
world and gain more achievements for themselves. What have been changed throughout many years
of art history? Throughout the length of this essay, I will explore this problem by giving the brief
view about gender bias and the way it affects women artists in the art world from the past, then
mainly discuss about how women has overcome gender bias, in order to be succeeded in art world
nowadays.
Gender bias is known as the inclination towards or the prejudice against one gender, which are
women in art world in this circumstance. This is an unequal treatment in employment opportunity,
such as privileges or benefits (Oxford dictionary). It is also known as women discrimination.
According to Inga Muscio, Remedios Varo did not receive the recognition she deserved because of
the male social system. "The white, male portion" gave them the authority to present art as an artist
but not women. Women did not have a right and had been excluded from the process of creating
"art" (202). So, what had happened in the 19th century, which prevented Muscio from gaining her
recognition

Essay about Willem de Kooning
Willem de Kooning is considered one of the best American painters to ever live. He is compared to
one of the Greek Sea Gods, Proteus, and is called "a master of a liquid realm who is gifted with
prophecy" (Kertess).De Kooning is a highly intellectual, analytical artist with the courage to reject
all assumptions and to take up an issue at its "most difficult formation" (Hess 16). One of de
Kooning's good friends was the poet, art critic, and MOMA Curator, Frank O'Hara. O'Hara
considered de Kooning one of the three or four greatest painters of the twentieth century. He
idolized de Kooning and was deeply influenced by de Kooning over their relationship. (Stevens
484) One of O'Hara's great poems about de Kooning's work was "Ode to Willem de ... Show more
O'Hara used the lyricism, emotional effects, and metaphorical potentials of poetry to convey a
painting's contents, a painting's appearance and and array of some of the painting's potential effects
upon a viewer. O'Hara's writings about visual art are simultaneously art objects and art criticism.
They are art objects themselves made of words responding to paintings. Because this activity––
criticism as ekphrasis––rather than a formalized description advocated by Greenberg, O'Hara was
able to draw on the strengths of both poetic and prosaic expression to write hybrid pieces of critical
text. Again, O'Hara's art writings, unlike those of formalist critics like Greenberg, are a hybrid of
aesthetic and critical modes of knowing (Shaw 179). Greenberg is wrong in his belief that ekphrastic
poetry cannot fully capture the essence of a painting. Lytle Shaw and Charles Bernstein, two critics
who supported ekphrastic poetry as a way to capture the essence of a painting, saw O'Hara's art
writing as a powerful and necessary counter to the rigidity that descends from Clement Greenberg's
belief in formal art criticism (Bernstein). Bernstein adds that the significance of O'Hara is his ability
to avoid simple descriptions of visual art in pursuit of the complexity found in the pieces they are
addressing (Bernstein). Shaw and Bernstein both argue that O'Hara's poetry is a better way to
capture visual art than a

Anatomy Of A Kimono Essay
The artwork I choose to write about is relevant to gender, sexuality, women, and gender roles. The
name of my chosen piece is "Anatomy of a Kimono." This piece was completed in 1974 by
Canadian–American artist, Miriam Schapiro. The art piece was created using a multitude of fabrics
that could be found in traditional Japanese kimonos as well as acrylic paint. These various forms of
media were combined on a canvas. In order to assemble the fabric based materials of her work,
Miriam Schapiro collected scraps of silk and handkerchiefs from the various places that she visited.
The different materials Schapiro used were then assembled into ten, large, Japanese style panels that
resembled abstract expressionism. The fabrics represented women's influence ... Show more content
on Helpwriting.net ...
A large part of Schapiro's goal for this piece was to explain the relationship that women have with
creating certain fabrics and designs and the great deal of skill involved. She described her work as a
collage of the beauty created by women. The piece empowers women and cleverly reveals them as
incredibly intelligent artists who subtly possess the skills required to create extremely complex
works of art and craft that blend in with the everyday life. Another main point of Miriam Schapiro's
message is that women should occupy an equal, if not greater amount of space in comparison with
men. The large size of her piece clearly demonstrates this thought process. In relation, the content of
her piece brings to the forefront, the significant ideas that women and women alone are pioneering
new ideologies in terms of their unique artistic style and culture. During a time when sexism was
still very prevalent in society, women were finding their own special ways to break the mold and
distinguish themselves from men and in turn, explore and practice new skills that go beyond the
abilities of men at the time. In addition to this, the subtle inclusion of embroidered names of women
within the minutiae of the artwork also helps develop a significant focus on driving away the
generalizations of women and establish bold, yet almost silent ways to prove the individualistic
characteristics of every women to the rest of the world. Furthermore, the inclusion of many vibrant
colors and rich textures included in the composition of "The Anatomy of a Kimono" help to
exemplify the strong personalities of female artists, specifically, the millions of unknown female
artists who worked hard to support themselves and their loved ones. The art piece does not hold
back on its strong theme of women's strength

The Characteristics Of Intellectual Art In Children By Max...
The extensive history of art as we know it draws back to the primitive cave drawings of our
ancestors from tens of thousands of years ago. Since then, it has evolved in a multitude of ways,
taking on many different forms, mediums, and techniques. Art is a reflective work; in it we are able
to find emotion, inner thought, life events, culture, nature, time periods, etc. Above all, this allows
us to recognize the defining characteristics and methods that many artists employ to appeal to our
senses. Heinrich Wolfflin, an art historian, went about categorizing art according to whether it
appeals primarily to the emotion or to the intellect. By examining for such styles through their
characteristics in the paintings The Madonna and Child with Saints Louis of Toulouse, John the
Evangelist, and Donors by David Ghirlandaio and The Sinking of the Titanic by Max Beckmann, I
was able to determine the former displays intellectual art and the latter displays emotional art. I
classified The Madonna and Child as intellectual art due to many reasons. I immediately noticed that
the painting has horizontal and vertical lines. These suggest stability and immobility. Madonna is
sitting straight up with vertical columns at either side of her. The steps below her run horizontally
across the painting in lines. Standing below the steps are two figures, and there are two figures
below them, their bodies cut off mid–chest. All of them are standing erect, possessing forms of
vertical lines.

The Stonebreakers
In the twentieth century, the views of orthodox Marxism spiked a discussion that addressed the
socioeconomic contrast between art history and social art history, revolutionizing the process of how
art history was researched and interpreted. Until this time, Marxists believed that traditional art
historians merely touched surface of the artwork's background by identifying the artist, the medium,
the time period it was created in, and how the piece was a product of its society. From there, they
come to a conclusion as to why the details in the paintings hinted toward these cultural normalcies
and traditions of whatever specific society they were researching into. However, Marxist art
historians dug much deeper than that, researching particular cultural customs and ... Show more
Unlike other paintings of this time, this image was not meant to boost the morale of hard work as
much as it was used to depict the affliction of the unappreciated middle–class people of 1850's
France. This concept was apparent in its muted tones, lackluster setting with little atmospheric
perspective, and lack of identity in both of the figures, allowing them to be John Does in a world of
other middle class workers who dreamt of their own "ideal democratic public" (Marxism and the
Social History of Art). This idea was laid out in T.J. Clark's book, On the Social History of Art,
specifically dedicated to Courbet, which was entitled Image of the People:
Owing to the extensive use of machinery and to the division of labour, the work of the proletarians
has lost all individual character, and, consequently, all charm for the workman. He becomes an
appendage of the machine, and it is only the most simple, most monotonous, and most easily
acquired knack, that is required of him. (Life

Which Art Historical Method I Would Use: The Ideas of...
As an aspiring art historian who has been exposed to a variety of diverse methods for analyzing art,
there are two techniques in particular that stand prominent amidst the others: the ideas of Erwin
Panofsky and Adrian Piper. It is not invalid to say that both art historians share a similar view of
interpreting works of art, however, they also manage to complement one another perfectly. An
integration of both Piper and Panofsky's points of view would result in an impeccable approach to
delving into the minds of the artists and determining the significance of the works of art that they
constructed. Erwin Panofsky introduced and labeled a tripartite structure of analyzing art; he argued
that practicing this tripartite method would produce ... Show more content on Helpwriting.net ...
By immersing oneself in material of the period, one is then able to recognize and trace connections,
therefore revealing the intrinsic meaning of the painting. Defending Erwin Panofsky's method to
those who have doubts seems as though it should be nonsensical, because it is clearly the path that
art historians must take. One simply cannot eliminate his method while simultaneously retaining the
title of art historian. The omission of Panofsky's ideas transforms art history into art appreciation.
By use of what other method should one endeavor to find the meaning of a work of art if not
through the art's contemporary documents and artifacts? We cannot afford to ignore the clues that
may provide us with an idea of the culture that surrounded the work of art–they are all we have.
While approaching artifacts as a tool to explain the past to us, there will always be doubts of
accuracy, however, until someone develops time travel, said artifacts are the most solid evidence in
our possession. The moment we stop attempting to reveal what the artist was saying is the moment
we do ourselves, as well as these great artists, a tremendous disservice. In Adrian

The Guerilla Girls Are A Women 's Activist Art Group Essay
The Guerilla Girls are a women's activist art group. They are masked women who came together to
make change in the world of art and women's involvement in society. GG emerged in 1985 and still
are active today in New York after 30 years of the emergence of the group. The Guerilla Girls used
posters with real statistics to show awareness of sexism in the art world and the discrimination of
women in politics as well as in the mass media. The Guerrilla Girls spread awareness of sexism in
art, discrimination in politics and the mass media through their workshops, performances, and
posters. The Guerrilla Girls speak about sexism in art galleries and the non appreciation of women 's
art in the most prestigious galleries of New York. "a very big problem is the fact women don 't
collect. ... Men buy the art and call the shots museums. Until women support women and collect
each things will never change" (Withers 287). Women artists new to the art world were not accepted,
men artist bought their art to present as their own. This way women artist do not get the chance to be
recognized for their talent. Making the assumption women are only valued as the model but cannot
aspire to be artists and create exceptional work as men would. This is of importance because only
1% or none of the art presented was of women artists. "not only in their appeals to principles of
equality, but also, say, in their gesture of adopting the names of deceased female artists as aliases, a
gambit tacitly

Relationship Between Religion and Art in Medieval,...
In a brightly–lit corner of St Peter's Basilica, sitting behind a clear panel of glass, is Michelangelo's
Pietà. A marble–white sculpture of the Mother Mary, her eyes downcast, gazes at her Son who lies
dead across her lap. She seems both devastated and deep in thought. She is young and beautiful, in
line with the old belief that a perfect soul meant a perfect outward appearance (Smart 122). She is
famous and celebrated, and is visited by Christians from every nation.
In another part of the world, The Holy Virgin Mary by Chris Ofili resides in the Brooklyn Art
Museum. It is a painting of Mary atop a pile of elephant feces, the Virgin herself made with the
same substance, while surrounded by cutouts from pornographic magazines. The work ... Show
more content on Helpwriting.net ...
The Church became less of a holy symbol of God's presence on earth, and more of a machine to help
ambitious men up the ladder of political power and influence (Murray Michelangelo 7). The Age of
Enlightenment changed the medieval time's thirst for God to a thirst for knowledge and science
(Gardner 396).
In present times, the influence of the Church continues to decline. "The 21st century is seeing the
most intense attacks on belief in God in general and the Roman Catholic Church in particular."
(Tiglao A13)This is not at all helped by the countless scandals endured by the Vatican today. Well–
known examples include their opposition to stem cell research (zu Eltz et al. 211) and sex abuse
cases involving priests. The controversy of sexually abusive priests has proven so outrageous that
many have demanded the dismissal of countless Church officials and even Pope Benedict XVI
himself ("Pope undeterred by abuse scandal, reform calls" 8).
Religion has endured a rocky road over the course of history, and so has art. Indeed it has evolved
from the solemn themes of medieval art, to the romantic, whimsical mood of Renaissance art, to the
shock value of contemporary art.
The Medieval times has its share of famous art styles, two of the most significant being Byzantine
and Gothic. The Byzantine era of art was one of the Western world's longest and most unique. It was
best

The Expanding Discourse Summary
The introduction to The Expanding Discourse and Reclaiming Female Agency: Feminist Art History
After Postmodernism as well as the interview A Dialogue with Linda Nochlin, the Maverick She all
provide a discourse on feminist art history through several decades that is enlightening and
somewhat startling. These essays explore some of the intricacies and changes within the history of
this relatively new methodology of art history and, though these essays do not go into great detail,
they do offer a helpful survey that is brief, yet informative, for this particular discipline of art
history.
The introduction of The Expanding Discourse discusses the evolution of the different methodologies
of feminist art historians whose diverse methodologies ... Show more content on Helpwriting.net ...
What is clear is that feminist art history is not meant to sway art history solely towards the feminist
perspective, but to add it to the art historical canon to even out any inequalities. By continuously
questioning any theories of both traditional art history, but also those of postmodernism, the
evolution of feminist art history continues to develop, hopefully to its benefit. Clearly, feminist art
history has come a long way in a comparatively short time; however, this does not mean that there is
not room for improvement. Indeed, after reading these essays, there is a distinctly obvious need to
take action to advance feminist art history so that, in turn, other methodologies of art history can
develop to become more effective, influential, and inclusive. It is astonishing to learn how
complicated that feminist art history truly is, for there are so many factors that must be taken into
consideration, and the span of these factors only continues to

The Hidden Meanings Within Michelangelo 's The Creation Of...
What are the hidden meanings within Michelangelo's The Creation of Adam? Is there significance in
God and Adam's stretched hands? Several art historians analyzed this particular aspect of the fresco,
and believe it to have deeper meaning; while many found significance in the nude figures next to
and around God. Each interpretation came about using a different methodology, explained in detail
below. While all of these interpretations are valid and offer special insight into the fresco, they are
not based in objective reason. In this essay, I will explain the significance of their stretched fingers
using simplified mathematics.
The Creation of Adam by Michelangelo is one of the most recognizable pieces of artwork in the
history of art and still today in modern times. This fresco is the fourth scene along the middle strip
on the Sistine ceiling illustrating stories from the book of Genesis. This scene portrays the Biblical
episode when God creates the first man, Adam. Many people recognize the image of God wrapped
in cloth extending his arm and pointing towards a naked figure, Adam, who is equally extending his
finger to meet God's. However, their fingers do not touch. They instead remain electrifyingly close
in a way that seems as if their fingers could collide at any moment.
While many people recognize the this fresco, many cannot fully understand the meaning behind
Michelangelo's brushstrokes. Even those who understand the fresco's aesthetic value, very few are
able to

What Are The Similarities Between Mannerism And Realism
Mannerism and Realism are two periods in the history of art that did not born by themselves but
were part of a greater movement or originate because they do not accept the convention of the
previous movement. In these essay the main artists from these two movement will be compared in
order to show how art has changed over three centuries of world changes. The first artist that will be
analyzed is El Greco from Mannerism and the second one is Gustave Courbet, a representative of
Realism. An interesting fact about these two artist is that even though they lived in different epochs
they have chosen the same theme for one of their paintings and this allows to a more detailed
comparison in order to see how the historical context and the movements ... Show more content on
Helpwriting.net ...
El Greco was fascinated by the Italian Reinassance and by Mannerism, he uses art to express his
religious fervor and devotion in paintings like "Burial of Count Orgaz" instead Courbet is living in a
period of political instabily and fights for the civil rights so he found himself closer to Realism, an
art movement that express these values and produce his masterpiece "Burial at Ornans" to show that
common people have the same dignity and were not inferior to other social classes such as
aristocracy and that art should focus more on the depiction of the common. The transition from what
is pleasant and idealized to what is its opposite is abrupt and not gradual and it is caused by political
events like the French reovolution where the painters, spokesman of the society along with writers,
refused to represent what is good to be seen but the reality that still should be valued and this is why
the Burial at Ornans had become more popular and appreciated over time even though at the
beginning it was highly criticized instead The Burial of Count Orgaz can be clearly put in the
category of religious art in this case intepreted according to the Mannerist convections. However
nothing is removed to the creativity of these two artist that have interpreted the same theme to reach
two completely different results that will remain unique in art

Essay on Breaking Down the Barriers to Feminist Art Work
Breaking Down the Barriers to Feminist Art Work
"Every time a girl reads a womanless history she learns she is worth less."
While studying art history in Pre–Industrial Visual Cultures this semester, one theme has become
painfully obvious. There are few if any women artists included in the study of art history. If you dig
deep into the books you can find mention of many unknown, unrecognized and often times very
talented women artists from the past. Women in history are simply not recognized, and this is due to
a large extent to their exclusion from the art world. My paper chooses to focus on a few female
artists of the sixties and seventies who sought to make up for past history and ensure women were
known. These women ... Show more content on Helpwriting.net ...
Her most famous piece is entitled ìThe Dinner Partyî and in this she sets a large table with 39 place
settings for women from the past. Along with this there are hundreds of other names and these
include past women artists including Artemisia Gentileschi and Mary Cassatt. The purpose of this
piece was to show how many women from history are unrecognized and forgotten. These women
have made lasting and powerful contributions to our society and yet they are essentially left out of
history and overshadowed by their male counterparts. This was especially true in art history, and
Chicago attempted to show how important it was that females have a place in history. Therefore the
exclusion of women from history, had a profound impact on Chicago and greatly impacted her art
making.
The Dinner Partyî utilizes female sexual imagery to further establish a female presence in the work.
The plates for ìThe Dinner Partyî clearly depict vaginal imagery. Chicago termed this imagery
central core imagery and she attempted to invent a new female language. Chicago in an interview
with Lucy Lippard says that, ìif women make art differently from men, it means that women are
actually independent from menî (Lippard, 228). Her work was trying to eradicate the negative
stereotypes people had about females and establish the importance of women both in the past and
present. This work sought to repair some of the damage suffered from the exclusion

Women in Art Essay
Women in Art
Throughout history many artistic works have been deemed "great" and many individuals have been
labeled "masters" of the discipline. The question of who creates art and how is it to be classified as
great or greater than another has commonly been addressed by scholars and historians. The last
quarter of the 20th century has reexamined these questions based on the assertions that no women
artists have ever created or been appreciated to the level of "greatness" that perpetually befalls their
male counterparts. The position that society has institutionalized on women as unable to be anything
but subordinate and unexpressive is a major contributor to this claim. Giving a brief history of
gender discrimination in the art ... Show more content on Helpwriting.net ...
According to the Guerrilla Girls, art museums average 15% women in curated exhibits, and minority
women only .003%. On top of that, only 4% of museum acquisitions are of work by women artists
(Strawter).
The study of why women artists have systematically been erased from history and why currently the
exhibition of women's art is not valued as much as the male artists' continues. There have been many
theories behind the eradication of women artists from history. At the beginning of the Women's
Liberation Movement, an art historian by the name of Linda Nochlin published an article called,
"Why have there been no great women artists?" In here article, she addressed her own question
offering one of the first consciously feminist challenges to the established canons of art history. Her
query proved to be a rallying cry for women artists in the fervent days of the Women's Liberation
movement and offered fragments of a manifesto to women artists, and others, intent on reexamining
and ultimately restructuring the discipline (Morse, 1992). Nochlin argues that contemporary
feminists contend that there is a different "greatness" between men's art and women's art. This view
of art undermines the general discipline. It categorizes its value in order to give it a higher
classification among gender. Many women are trying to delve back into history and recapture any
trace of artistic women in order to document and arrange their

Analysis Of Le Chinois Galant
Le Chinois Galant
Le Chinois Galant, is a breathtaking oil painting that was created by a famous artist in the 18th
century of the name Francois Boucher. This stunning painting conveys the modern era that is of
china. This canvas of which this painting was painted on was fitted onto a Rococo frame as seen in
The David Collection located at Copenhagen, Denmark; that was photographed by Pernille Klemp.
The dimensions for the canvas are forty–one inches by fifty–seven inches. In this art piece oil paint
was used on linen canvas to help create different shades of blue color, adding not only more of a
vibrant effect but also portraying a mood to the painting. By applying the oil paint, it gave the
benefit of making the surface of the painting more smooth. The smoothness of the paint reflected
gave more contrast to the painting. The subject manifested within the painting is one in which a man
is courting the woman to ultimately making love to one another. It seems as though the man and
woman are in a garden that is quiet and contained within the garden is a statue of Buddha hinting at
possibly the loss of innocence. The main purpose of Francois Boucher's canvas, Le Chinois Galant,
was to demonstrate the cultural influence of the Chinese on the European after both cultures started
trading goods in beginning of the fifteenth century.
In Le Chinois Galant many type of formal elements that clearly displayed with the help of different
principles of designs incorporated in this

Essay on Evolution Embedded in Symbols
Evolution Embedded in Symbols
Two billion years ago two prokaryotes bumped into each other and formed the first multi–cellular
organism. 65 million years ago an asteroid hit the earth and dinosaurs became extinct. Three days
ago, in your notebook you drew a mess of squiggles which to you represented Jackson Pollock's
painting, Number 1, 1948. You wrote the word entropy on the upper left hand corner of the page. On
the bottom right hand side you wrote, Creativity is based on randomness and chance.
This paper is, in part, an exploration of the pictures and words that we place in notebooks; it is an
investigation of the human fixation with the creation of symbols via art and writing. But is also
about how the symbols drawn in one's ... Show more content on Helpwriting.net ...
In her book, On Beauty and Being Just, Elaine Scarry states that "beauty incites replication" (4).
Like a history of evolution, a history of human symbolic representation is heavily dependent on the
act of reproduction. This reproduction has manifested itself quite literally. For example, when a
painter finds something in nature to be beautiful, she can reproduce it on the canvas and when a
writer finds a moment to be inspiring, she can transcribe the moment into "a set of instructions [i.e.
words] about how [a reader] can imagine or construct [that moment]" (Dreaming by the Book,
Scarry, 6). Like sexual reproduction which allows organisms to share their genetic material in order
to continue species and to create new organisms, pictures and words help with a lateral transfer of
cultural information, its continuance and recombination. To create a symbol of something with a
string of words or with an art material is to perpetuate that which is beautiful for future generations.
According to Dennett, "before there were words, there were no word meanings, even if there were
other sorts of meanings." (402) Dennett's hypothesis reminds us, at the most basic level that symbols
mean something. To say that there are only a couple of meanings behind all artwork and writing
would be to deny the complexity of the human symbol–making and

The Value Of Art And Art
The ownership of art in 2017 is typically brought up in discussions regarding works of art with
seven to eight–digit price tags, owned by individuals with a net worth that can be described using
nine to ten digits. However, popular opinion would probably agree that the person who has the
single greatest appreciation for art is the art historian. Popular opinion would also be quick to agree
that the art historian does not value a work of art in accordance with the market's appraisal of a
given piece. The art historian's origin is grounded in academia – rather than profit margins or
financial ownership.
The art historian's obligation lays in their responsibility to spread the wealth of knowledge
associated with the history of art while also ... Show more content on Helpwriting.net ...
However, if art historians were to take a passive stance to art that is at risk of being destroyed
because it is located in an area of geopolitical unrest, then they risk losing the very subjects that
legitimizes their occupational responsibilities. For example, we have seen that works located in the
turbulent sectors of the Middle East have been wiped out on massive scales. André Emrich
highlighted the greatest contemporary tragedy regarding the aforementioned statement in his essay,
Improving the Odds: Preservation through Distribution:
The worst act of barbarity to inaugurate the new millennium was the horrifying destruction in 2001
by the Taliban and Al–Qaeda in Afghanistan of the giant statues of Buddha at Bamiyan, and the
smashing of every piece of figurative art that could be found in the National Museum. The
unprecedented, deliberate destruction has left nothing but photographs of the art of entire cultural
epochs. (source)
Perhaps obvious, but the necessary ethical response to tragedies such as this is to ensure the best
possible chance for the collective preservation of art. Art historians have no obligatory association
with a specific nation or institution, their obligation is to maintain and develop the narrative of art.
This cannot be done if the art they would like to examine evaporates from history due to rogue–
extremist human action. Typically, disputes over repatriation are reserved to those who represent the
respective nations

Essay about The Classic of Filial Piety Analysis
The Classic of Filial Piety is a highly influencial piece of art from acient China that many use, along
other acient Chinese arts, to portray how art in China was effected by the beliefs and events
surrounding the artist. However, not many mention on how it was a major factor in influencing
China to accept painters and paintings as arts that could be used for artists to express themselves,
thus being both affected by the current events and being the event that affected other arts. The
Classic of Filial Piety was painted by Li Gonglin and is different than modern art, mixing both
pictures and text. The art was painted in the Northern Song Dynasty, which lasted from 960 to 1279.
China was in the later half of the Dynasty, as the painting ... Show more content on Helpwriting.net
...
Paintings had little meaning compared to other arts such as sculpting and music. Artists turned to
those arts to express themselves, and paintings rarely had meaning in them. China did not consider
them very important compared to other civilizations. After Li painting was put in a more favorable
light. They soon became reconized as a legitimate form of art. Painters soon took to painting to
express themselves and observers began to appreciate meaning and symbolism in paintings. This
helped different forms of storytelling to blossom and for painters to become more reconized. Li's
painting influenced an art to become loved by the public, and many believe it's due to the meaning
Li put into the painting.
The painting has deep meaning in it, and the lesson expressed is the focal point of the painting
instead of background symbolism. Filial Piety means to respect one's parents and ancestors. The
painting is based off a piece of Confucian classic written in approxiametly 400 BC. The exact author
is unknown, but it's claimed to be a conversation between Confucius and Zengi. The book, like the
painting, describes how to behave towards one's superiours. Filial Piety is the main focus of the
painting. In the painting, several different scenes are showed. One scene shows Filial Piety
relationships in a "levels of a contemporary society"(Maxwell, 40). It shows a son saying goodybe
to his parents. Another

Baroque Vs. Baroque Renaissance
The style that followed the Renaissance is usually called 'Baroque'. 'But, while it is easy to identify
the earlier style by definite marks of recognition, this is not so simple in the case of Baroque.'
Baroque is considered to be 'one of the great periods of art history', and it is generally identified as
being developed by Caravaggio, Gianlorenzo Bernini and Annibale Carracci. The Baroque period
developed in Europe in around 1600, and it can be seen partly as a reaction against the intricate and
formulaic Mannerism that dominated the Late Renaissance. Nevertheless, to see Baroque as simply
being a reaction against Renaissance ideals and norms is simplistic. Modern scholarship has
identified within the Baroque clear signs of a return to ... Show more content on Helpwriting.net ...
By synthesising these elements, I will establish how the Baroque can be distinguished from its
precursors.
The term 'Baroque', like many period designations, is not a complementary one. It had the
connotation of meaning 'bizarre taste' that does not follow the rules of the classical. This provides
one basic definition of the Baroque; its contrast to classicism, despite the fact that Baroque was a
reaction to, and an adaption of, the classical tradition. 'The word 'Baroque' was a term employed by
critics of a later period who fought against the tendencies of the seventeenth century, and wanted to
hold them up to ridicule. Baroque really means... grotesque, and it was used by men who insisted
that the forms of classical building should never have been used or combined except in the ways
adopted by the Greeks and Romans...'
After the idealism of the Renaissance, and the slightly 'forced' nature of Mannerism, Baroque above
all reflected the religious tensions of the age– notably the desire of the Catholic Church in Rome (as
annunciated at the Council of Trent) to reassert itself in the wake of the Protestant Reformation.
Thus, Baroque art became synonymous with the Catholic Counter–Reformation. Baroque art in
Catholic nations reflected the desire of Emperors and monarchs to strengthen their political position
and glorify their own divine grandeur. By comparison, Baroque art in

Chuck Close's Life and Book Review Essay
Chuck Close was born on July 5, 1940, in Monroe, Washington, and grew up in the blue–collar town
of Everett. He earned his B.A. from the University of Washington, Seattle, in 1962, and two years
later his M.F.A. from Yale University, and taught art classes at the University of Massachusetts.
Close was married to Leslie Rose for more than four decades and together have two daughters. The
couple first daughter, Georgia Molly, was born in 1973, and Maggie Sarah in 1984. He has lived
with Prosopagnosia, a disorder that impaired the ability to recognize faces, but not objects. It would
be this disorder that would shape his career as a photorealist, doing close–up as a way to remember
and recognize his subjects including his friends. Chuck Close ... Show more content on
Helpwriting.net ...
They say that through time people change the way they see things and lately my taste for art has
changed. Today I no longer root for Goliath, but instead for David. In today's art world we could
probably say that without trepidation that Chuck Close is our David.
Close had to overcome many obstacles to reach his success. He had to deal with many disabilities
and a life–threatening stroke that almost killed him, but instead he used those obstacles in his life as
a motivation to accomplish his goals both as an artist and individual. Although I was somehow
familiar with the artist I had never read anything in length about him. I decided to make a selection
of books of the artist in order to learn more about the artist. The books that I selected would inform
and delight those who want to know more in depth about the artist career and private life.
One of the most interesting books written about Chuck Close is Chuck Close: Work (Prestel
Publishing, $85). This book is fascinating both because Christopher Finch, an artist, author, and
former associate curator for the Walker Art Center, and his close relationship wrote it with the artist.
Finch first encounter with Close was at the Walker Art Center. Their first

Personal Narrative: My Visit To The Tampa Museum Of Art
I visited the Tampa Museum of Art. This was my first visit to a museum and I was excited and
intrigued and looking forward to seeing what was beyond the glass doors. The art exhibitions that I
was able to see were all amazing to behold. For some reason, I was expecting to walk into a huge
celestial auditorium that would have me in awe but wasn't the case. During my tour of the Tampa
Museum of Art, the artist and art that stood out to me most interestingly were Elizabeth Condon;
"American Pastorale" 2016. Elizabeth Condon is an American art in 2016 who was inspired to paint
art "American Pastorale." This art catch my attention immediately has I walked through Tampa
Museum of Art door. The painting displays interesting colors, contrast and expression that are
compelling and stands out. American Pastorale is an abstract painting which is a motivational piece
that was created using Chinese traditional painting scroll, vintage fabric, and wallpaper samples.
Additional material such as acrylic, latex, and glitter and pumice on linen was used to energize the
tropical flora of the painting. The painting dimension is 59x59 in inches. The painting shows that the
artist pours shading colors on the canvas which induces unforeseen and ... Show more content on
Helpwriting.net ...
These aspects of the artwork are noticeable immediately when viewing the artwork. My
understanding of this painting is that the artist applied color with expressive brushwork and poured
paint directly on to the canvas. A variety of loud intense colors such as red, orange, blue, green, and
pink was used to create a landscape pattern. Elizabeth Condon is an artist that embraces her
imagination and she believes that art is a structure and it is material. Therefore the angle Elizabeth
uses to demonstrate aspects and location in the artwork is not a mistake it is on

The Map of Art History Uses Order and Classification by...
The Map of Art History essay is about how art history uses disciplines in societies to represents
itself through order and classification. From many observations and theories it considers three
subject: first is the listing of fields in art history, second is the library system is for categorizing art
books, and third is the plotting of space and time in art history from survey texts. Also in the
discussion the writer talks about the geography of art history such as where does the idea appear
from? Other questions he asked was how and why do disciplinary classifications aspire are global
remain local? What are the consequences of our continued use of mappings that have their
beginnings and backgrounds in geopolitical spaces that no longer ... Show more content on
Helpwriting.net ...
In the subject of field for art history Robert pointed out the art is found in all categories except for
the unknown era of the Renaissance all the way to the 19th and 20th century in Europe also the
African Diaspora. In this part of where he is examining the fields Robert shows the history of how
art progress through the globe and similar styles of art like the European art are shown in the north
and south of America. He also calls forth the Art Criticism and Theory which is to be the only
category to be critical and theoretical. Criticism in art is what demonstrates the discipline in art
history for rejection or approval of the work. According to Robert's argument he also claims that the
library system is for categorizing art books, his statement was that "every book creates order,
individually and collectively. The order of a single book is a function of its written discourse, but the
order of a group of books is greater than the sum of their texts. " (The Map of Art History, 30). By
his statement he meant that books are disciplinary and hold so much order and control over society
because of the knowledge it provides in history. Mevil Dewey was a leader of the classification
movement and the creator of the system that holds his name, stretching the educational mission of
new public libraries, because of his mission,

The Era Of The Renaissance
Italy can be looked at as the home of the renaissance and consequently the immergence of great art.
Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are
looked at for standards. But what about the artists whose lives are mysteries, and their works that
were influenced by the greats? These artists hold just as much importance in the history of art as do
the artist's whose names can be recalled off the top of an average person's head. During the sixteenth
century things began to change in the art world, and that change was the Baroque. This new style of
art brought a revolution to how subject matter was painted, it brought upon "... a radical
reconsideration of art and its purposes..." (249) and how artists of all ranks could learn to paint the
up and coming style of Baroque.
Renaissance art created standards and principles that every painting and artist had to utilize in order
to even be considered good, let alone great. Characteristics such as the phenomenon of natural light,
one–point and linear perspective, and highly idealized religious or mythological figures changed
into the Baroque techniques of manipulating light to create emphasis, dramatizing the illustrated
allegory, and unidealized realism. Additionally, "... the Baroque trend dominated and gave its name
to the age... [but it was the presence of both styles] that give the Italian seventeenth century its
richness and diversity." (4) Italy, and Rome especially, is home to what can

Oriental Art Essay

Recommended

Recommended

More Related Content

More from April Charlton

More from April Charlton (20)

Recently uploaded

Recently uploaded (20)

Oriental Art Essay